1656194554     

484609025                        

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Queer Girls, Temporality and Screen Media : Not ‘Just a Phase’

London ; s.l. : Palgrave Macmillan UK ; Imprint: Palgrave Macmillan, 2016

1 Online-Ressource (X, 192 p. 20 illus., 1 illus. in color)

Englisch

Erscheint auch als: (Druck-Ausgabe)

Erscheint auch als: (Druck-Ausgabe)

Erscheint auch als: (Druck-Ausgabe)

978-1-137-55598-4 (electronic)

978-1-137-55597-7 (ISBN der Printausgabe)

857802526

OCoLC: 950927139 (aus SWB)     

Elektronische Ressource: Zugang beim Produzenten (Lizenzangabe: Lizenzpflichtig)

Elektronische Ressource: Zugang über Resolving-System (Lizenzangabe: Lizenzpflichtig)

Digital Object Identifier (DOI): 10.1057/978-1-137-55598-4

AP 53925      Ähnliche Literatur

PN1993-PN1999

791.4301

bicssc: APFA ; bisacsh: PER004000

*Film ; Fernsehserie ; Lesbische Orientierung <Motiv>      Zum Register

LOC-SH: Culture -- Study and teaching ; Sex (Psychology) ; Gender expression ; Gender identity ; Communication ; Motion pictures ; Motion picture acting ; Sociology ; Culture -- Study and teaching ; Communication ; Motion pictures ; Motion picture acting ; Sociology ; Sex (Psychology) ; Gender expression ; Gender identity

This critical analysis of contemporary film, television and video, examines how queer girls have become more regular onscreen in recent years, why this occurs, why it is problematic, and how some screen texts have responded. It wasn't until 1987 that one of teen television’s first queer girls appeared on the Canadian series Degrassi Junior High. It took more than a decade for same-sex attracted female characters to regularly appear on Western television, and a further decade for this to regularly occur within teen-oriented programming. Nowadays, queer girls are the major characters in mainstream television series as well as the protagonists and love interests in both short and feature length films around the globe. However, these characters are dominantly represented through storylines emphasizing their sexuality as ‘a passing phase.’ In this critical analysis of contemporary film, television and video, Whitney Monaghan explores how this occurs, why it is problematic, and how some screen texts have responded